Northanger Abbey – An Austen Classic, Reborn

Jane Austen's Northanger Abbey

Jane Austen’s Northanger Abbey Rating

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5

Sallyanne Scotton Moonga has delivered an innovative adaptation of Jane Austen’s Northanger Abbey to Warners Bay Theatre.

Sallyanne, the writer/director expertly produced an original play based on Northanger Abbey with a sagacious amalgamation of The Mysteries Of Udolpho. She has created an ingenious addition of the female protagonist from Mysteries Of Udolpho, Emily St Aubert–essentially an imaginary character seen and spoken to by the main Northanger Abbey character, Catherine Morland. Catherine Morland has become so completely consumed in her Mysteries Of Udolpho novels that she has conjured Emily St Aubert to help guide and encourage her in her day to day life and dramas.

The main character Catherine Morland was played by Isabella O’Brien who delivered a phenomenal performance. Isabella beautifully captured the essence of Jane Austen in her role and transported the audience into the British Regency era. Catherine has an easy listening clear tone that perfectly executed the challenging period dialogue.

Lilly Dougherty burst onto the stage as the energetic and zany Emily St Aubert. Her vivacious and dynamic presence infused the performance with wonderful comedy delivered through an incredible array of dramatic expressions.

Tracey Gordon cleverly doubled as both Mrs Allen and Mrs Morland. Tracy’s acting was flawless, providing utmost authenticity to both of her characters. Alongside Tracy was Peter Vernon who played her husband Mr Allen as well as General Tilney. A wonderful feat by Peter who accomplished a fabulous portrayal of two very contrasting characters: Mr Allen, a sincere and devoted husband, versus General Tilney, stiff, uncompassionate and domineering. With dominating stage presence and an immaculate British accent, Peter Vernon’s presence was a highlight throughout.

Catherine Morland’s dear friends Isabella Thorpe and Eleanor Tilney were both portrayed by Jamahla Barron. Jamahla displayed admirable skill in her smooth transitions between her roles and showed great dedication to her characters.

 

 

A charming performance by Joel Latham who delivered the roles of Henry Tilney and James Morland. Joel was ever fast in his commitment to his characters and gave a solid performance.

Will Cesista was charismatic and entertaining in his roles of John Thorpe and Captain Tilney. He showed great devotion and diversity throughout and in particular I enjoyed his comedic carriage scene with Catherine Morland.

The Costumes by Peta-Elliotte Green were perfectly appropriate to the era accompanied by the ladies’ gorgeous hair styles by Ralf Jorg. Ralf has once again dazzled the audience with his creative brilliance.

The play featured original music composed by Rob Scotton which provided a pleasing background accompaniment. The sound effects were also skillfully and appropriately utilised throughout the performance.

The use of Shadow Puppetry by Ricky Moonga and Sallyanne Scotton Moonga was an enjoyable addition and provided some light hearted comedy. It was unique, playful and pertinent to the show’s content and period.

The Lighting Design by Lyndon Buckley was fitting to the moments of mystery and eeriness and then bright and bold for the vivacious scenes. In particular the candles and lanterns strewn about the stage set a pleasant ambience.

Sallyanne Scotton Moonga’s creative retelling of Jane Austen’s Northanger Abbey is immensely entertaining and remains perfectly attuned to the style of Jane Austen. By masterfully breathing fresh new life into this lesser-known classic novel, Sallyanne and her incredibly talented cast have delivered a thoroughly enjoyable and memorable performance.

To book tickets to Jane Austen’s Northanger Abbey, please visit https://www.eventbrite.com.au/e/jane-austens-northanger-abbey-tickets-1584693724589.

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The Bogong’s Song: A Call To Country

The Bogong’s Song: A Call To Country

The Bogong’s Song: A Call To Country Rating

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3

The Bogong’s Song: A Call To Country at Bangarra Dance Theatre is an ingenious new production developed by Yolande Brown and Chenoa Deemal. It is sure to be another award-winning success following their previous highly acclaimed work Waru – Journey Of The Small Turtle which engaged thousands of children last year. The Bogong’s Song presents a truly unique, culturally significant and entertaining performance.

The inclusion of puppets and shadow puppets was captivating and worked seamlessly with Justin Harrison’s fabulous video designs and projected images. Vanessa Ellis excelled as the puppet master and maker; her expertise elevated and transformed the performance into something unique and magical.

The music by Brendon Boney and Yolande Brown, who was also the songwriter and composer, was atmospheric and illuminating. It perfectly complemented the dance choreography with First Nations cultural influences interwoven beautifully throughout. I immensely appreciated the inclusion of Australian bush sounds and animals and First Nations instruments such as tapping sticks and the didgeridoo. These intricate details highlighted and celebrated the cultural significance of the performance.

The lighting by Ben Hughes and Eben Love allowed the audience to transcend into the dreaming experience with mystical effects and timely poignant moments. Particularly impressive was the green lighting for the grass and the beautiful starry scattered lighting.

 

 

The performers Benjin Maza and Tjilala Brown-Roberts delivered a majestic performance. They both showcased exquisite artistry in their dancing, acting and singing. They showcased the artistic choreography by Yolande Brown which was an eclectic fusion of First Nations influence combined with hip hop and contemporary dance. Benjin wowed the audience with fabulous strength in his acrobatic tricks and tight, clean movements throughout. Tjilala likewise delivered a flawless performance with soft smooth elegance. Benjin and Tijala both excelled in engaging audience participation and in delivering meaningful heartfelt messages and raising awareness to pressing community issues.

The story highlights environmental concerns of Australia’s endangered Bogong Moth. It interweaves fascinating information which will hopefully inspire discussions and awareness to save this admirable insect. The content also delves into unsettling concerns of juvenile detainment and spreads awareness that children as young as ten years old are being imprisoned. This is heartbreaking and our nation can and should do better by our children. There are infinitely superior ways to help children grow and learn to be respectful and responsible future adults.

The performance also highlights our younger generation’s phone addiction and how they are sadly spending less time being at one with the outdoors and nature. They discuss how essential it is to one’s health and well-being to feel grounded to the earth and mother nature.

The Bogong’s Song at Bangarra Dance Theatre is a thoroughly entertaining cultural experience to be enjoyed by all ages.
They beautifully capture First Nations culture in the past, present and future and take the audience on a remarkable dreaming experience. The Bogong’s Song is a meaningful and rewarding performance not to be missed.

To book tickets to The Bogong’s Song: A Call To Country, please visit https://www.bangarra.com.au/productions/the-bogongs-song/.

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I’ll Be Back Before Midnight

I'll Be Back Before Midnight

I’ll Be Back Before Midnight Rating

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5

I’ll Be Back Before Midnight is a tantalising play full of twists, turns and jumps that will have your heart thumping, palms sweating and your skin prickling.

This spine-tingling production is being Presented at the beautifully unique Pavilion Theatre Castle Hill by the talented Castle Hill Players and directed by Ben Freeman.

The play is set in a cosy country cottage where Greg the elusive unsupportive husband, played by Mitch Doran, has brought his wife, Jan for recovery after a long admission in a psychiatric hospital. Jessie Peak as Jan was marvellous at portraying the neurotic self-doubting wife; her fearful and frustrated emotional outbursts were impactful and harrowing.

Greg instigated trouble in his marriage by inviting his sister, Laura, who is despised by Jan, his wife. Mitch Doran is wonderfully convincing in his role as the standoffish, self-oriented husband. Mitch skillfully portrayed the unraveling of his character, unearthing closets of surprising secrets.

Meredith Blee as Laura, the sister of Greg who has come to stay with Greg and Jan at the country cottage, showed great antics and dramatics between herself and both Greg and Jan. Meredith displayed a somewhat teasing and trouble-making character and ‘dug her own grave’ for doing so.

 

 

Jonathon Burt presents our fourth character, George, the owner of the cottage who consistently drops in to spread a dash of hysteria and hysterics. Jonathon was delightfully hilarious as George, delivering witty one-liners in fantastical succession. Jonathon’s comedic delivery and depth of character were fabulously displayed.

With a production team outnumbering the acting cast near 4 to 1, it is clear how collaborative team effort developed such a wonderful theatrical stage adaption. The team seemingly spared no expense and poured endless hours of loving dedication into creating this fantastic production.

The advantageous feats the production team went to in order to make all the ‘magic’ happen—and there sure was plenty of ‘magic’ and special effects—was incredibly admirable. In pursuit of authenticity, they gained police permission to fire a real shotgun with blank bullets to create an authentic live sound and experience. It’s the ingenious creativity and attention to fine details that molded the show into a thoroughly impressive experience.

The stage construction was ingeniously designed to enhance the theatrics, such as the furiously abused kitchen serving window and the shutters which eerily flew open and closed. The artistic design of the living room where the entire play took place was creatively and effectively laid out.

The lighting was fantastic, cleverly simulating cars leaving and arriving through the stage window and the timely light dimming and spotlights accompanying the stage drama. Also notable was the fireplace explosion with smoke and lights and the several feigned power outages which were all executed masterfully.

The numerous sound effects throughout, including the cars, telephone and recordings, elevated the action superbly. The thumping, bassy heartbeats penetrated the audience into a state of unease and anticipation. Additionally, the sinister piano music illuminated the eeriness and contributed to create the perfect creepy atmosphere.

I’ll Be Back Before Midnight is a gripping play packed with a solid, talented cast and a wonderful display of special effects. It will make you laugh, jump, gasp and scream, and leave you tingling with goosebumps. Grab your tickets and enter this welcoming theatre but take heed to “be back before midnight.”

To book tickets to I’ll Be Back Before Midnight , please visit https://paviliontheatre.org.au/ill-be-back-before-midnight/.

Photographer: Chris Lundie

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Agatha Christie’s Spider’s Web – Murder, Drama & Hilarity

Agatha Christie's Spider's Web

Agatha Christie’s Spider’s Web Rating

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6

Murder Drama and Hilarity are spinning the stage in this thrilling ‘whodunit’ murder mystery directed by Jessica Gray at the Maitland Repertory Theatre. Agatha Christie’s Spider’s Web is a tangled web of delight with an abundance of hilarious moments and compellingly complex subplots, this intriguing production will have you on the edge of your seats.

I am astonished that this was Jessica’s directorial debut, as even on opening night the production felt flawless. The lighting and sound were both expertly executed enhancing the thrills, chills and mystery, along with the backstage crew, they worked together to ensure a seamless performance.

This is of course a reflection on both Jessica and the wealth of experience and fabulous teamwork from her incredible cast and production team.

The cast should all be commended on their skillful British accents and the individuality each cast member brought to their uniquely flavourful characters. The costuming by Kasia Dowie was perfectly applied to each character further enhancing their characters’ authenticity. A strong cast all around, with a pleasingly broad age range from 11-year-old Molly South who played the sweet and constantly ravenous Pippa through to 85-year-old Michael Smythe who earnestly portrayed Hugo the pious local GP.

Madeline Valentinis in the leading role as colourful Clarissa was captivating throughout and delighted the audience with her charming wit and fabulous style. Madeline’s melodramatic touches were superbly on point generating all the flair her character rightly deserved.

 

 

Commendable casting for Drew Pittman as the Inspector accompanied by Lauren Irwin as the sidekick Constable. The pair made a dynamic duo as they persisted in solving the puzzling murder and attempting to decipher facts from fictitious stories.

Aimee Cavanagh delivered a tremendous rendition of Miss Peake, the home’s resident gardener. Aimee’s seemingly dimwitted character provided the audience with continuous rounds of hysterics as did the ditzy housekeeper Elgin played by Dimity Eveleens.

The ingenious set design was almost as impressive as the fabulous cast The entire performance took place in the drawing-room of Copplestone Court, a country home in Kent England. The clever design allowed four entries/exits which in turn credited depth and dimension to the scenes and story as a whole. Particularly notable was the doorway with a staircase for the cast to travel upstairs in the ‘house’ complete with an hallway illusion in the background. I was also fascinated by the hidden bookcase door that beheld a tangled web of secrets.

Spider’s Web encompasses all the wonderful elements an audience can expect and more from a classic Agatha Christie murder mystery. Written in 1954 and still performed and loved the world over is a testament to the fantastic best selling novelist of all time. Melodrama, comedy and a tangled web of deception are boldly displayed in this highly entertaining production. Offering a strong and seasoned cast accompanied by fabulous staging, you are bound to be thoroughly impressed by this thrilling Agatha Christie classic.

To book tickets to Agatha Christie’s Spider’s Web, please visit https://www.mrt.org.au/2025-plays/agatha-christies-spiders-web/.

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